Ireland, 1923.

Civil war has split country, friend and family. The story of “Magpie” follows two brothers, Michael and Patrick Murphy, within the confines of Kilmainham Gaol. One an IRA gunman fresh from the trenches of WWI, the other a Freestate prison guard. Both haunted by the past.

“Magpie” probes the complexity of loyalty between family and national allegiance, ideology, and experience. It resonates powerfully in today’s volatile times of war and conflict; enduring themes, as relevant today as they were a century ago.

Plastic & Chicken Bones

A tiny margin of error causes a future time traveller to end up in the present day and, as they await recovery, we learn about what brought them here – as well as the events that led our species to a future without war, death, suffering or free will.

Set against the backdrop of escalating nuclear war, the rise of Artificial Intelligence, global warming, and the next phase of the human race, this gripping and thought-provoking solo piece is Brave New World meets Black Mirror and sparks a conversation that needs to be had.

Voice Mag BEST NEWCOMER AWARD – Brighton Fringe 2022
”an incredible one-man show with heart, intelligence and vitality” ★★★★★ (The Reviews Hub)
“a thoroughly thrilling dystopian sci-fi social commentary” ★★★★★ (Voice Magazine)
“a very clever concept which is brilliantly revealed to the audience one bit at a time” (Chris Neville-Smith’s blog on theatre)

RANK.

RANK A debut play from Goldie Majtas, Gemma and Jane couldn’t be closer, the type of friendship that could survive through anything, I mean anything. This absurd piece of dark comedy will take you on an unexpected journey through the lives of two twenty-somethings trying to sort their sh*t out. All starting at a taxi rank. Think Waiting for Godot meets Fleabag. Be prepared for explicit subject matters and dark themes in this fun, fresh piece of writing. Directed by Julia Mandler and staring Paige Cowell and Goldie Majtas.

Grania Dean Studio

Plastic & Chicken Bones

A tiny margin of error causes a future time traveller to end up in the present day and, as they await recovery, we learn about what brought them here – as well as the events that led our species to a future without war, death, suffering or free will.
Set against the backdrop of escalating nuclear war, the rise of Artificial Intelligence, global warming, and the next phase of the human race, this gripping and thought-provoking solo piece is Brave New World meets Black Mirror and sparks a conversation that needs to be had.

Voice Mag BEST NEWCOMER AWARD – Brighton Fringe 2022
”an incredible one-man show with heart, intelligence and vitality” ★★★★★ (The Reviews Hub)
“a thoroughly thrilling dystopian sci-fi social commentary” ★★★★★ (Voice Magazine)
“a very clever concept which is brilliantly revealed to the audience one bit at a time” (Chris Neville-Smith’s blog on theatre)

2 Queers in Tears?

This is not your regular love story.
Billy: “We should write a play about this”
Elliot: “God no babe, this is not for public viewing… ”

Join Billy & Elliot, two queer, emotionally constipated 30-somethings on their journey to becoming their authentic selves. Expect singing, dancing, therapy, 5-am bed talks and a whole lot of mooo-ing. Laugh and “cry” with them as they discover that platonic love conquers all.

The Trails of Magnus Coffinkey

For what can you say to someone when their heart’s been cleft in two?
Nothing…
Nothing…
Nothing…
No words will ever do.

From the writer and production team behind the 2022 Voice Mag BEST NEWCOMER AWARD at Brighton Fringe comes a haunting UK PREMIERE – a broken fairy tale for broken people.

In a whimsical land of dark fantasy, Magnus Coffinkey must repair a broken bell atop an impossibly high tower. Success will make his deepest desire come true – whereas the price of failure is a permanently broken heart and a lifetime of guilt, pain and sorrow.

Using fairy tale as a gentle tool for processing and trying to make sense out of personal trauma and grief, The Trials of Magnus Coffinkey is charming, honest and devastating.

The Waiting Room

A girl called Lemon is looking for her lover, Cactus.
She realises Cactus left her, and is on the other side of the door.
Lemon tries to talk to Cactus, she desperately wants Cactus back. But she doesn’t hear anything from him.
All the people she loved disappeared through that door but she couldn’t open it.
Why did they leave her alone in the waiting room? Why can’t she open the door?
Whose door is it if you can’t open the door? What’s there behind the door?

This play explores the attachment-type theory, especially the anxious attachment type.
How was your first relationship? Was it a massive fail? Or quite successful?
What’s the reason we’re not good at it? Where’s it come from?

This is an eccentric surreal play, but very funny, touching and easily understandable.
It contains beautiful physical movement, dream-like words and a weird song about watermelon.
Please join her journey for escaping the waiting room.

Dinner! Darlings! Dinner!

It’s been raining for days.
Once again the world has flooded but this time there is no Noah’s Arch. Nathan and his neighbour’s cat Clarice, who Nathan hates with passion, are seeking shelter in an abandoned barn.

And then Anna arrives.

They have never met before, or at least that is what they think at first. But they have met before. Anna is his classmate’s big sister who he hasn’t seen since he was eight. As the night unfolds they share stories, talk about their dreams and fears, their past and their uncertain future…

And then there is Clarice.

This is a bittersweet and slightly comical story about the end of the world, belonging, and a cat. It is about the stories we tell about ourselves, the stories we need to share with others, and the stories that shape us. After all a story is all that is left of us once we are gone.

Unless, of course, we are the last humans on earth.

Perfromed in the Grania Dean Studio

RANK.

RANK A debut play from Goldie Majtas, Gemma and Jane couldn’t be closer, the type of friendship that could survive through anything, I mean anything. This absurd piece of dark comedy will take you on an unexpected journey through the lives of two twenty-somethings trying to sort their sh*t out. All starting at a taxi rank. Think Waiting for Godot meets Fleabag. Be prepared for explicit subject matters and dark themes in this fun, fresh piece of writing. Directed by Julia Mandler and staring Paige Cowell and Goldie Majtas.

Grania Dean Studio

That Witch Helen

The face that launched a thousand ships finally gets to speak.

Meet Helen, before Troy, in this feminist retelling of the Ancient Greek epic. Witness her divine beginnings (yes, she did hatch from an egg!), her youth as a Spartan warrior, her fateful decision to leave her husband, and finally the decade of brutal war and destruction that follows.

That Witch Helen blends myth, movement, and storytelling to give Helen of Troy, one of history’s most hated women, a chance to tell her own story.

“What happens to all the clever little girls?”

Written and performed by Catie Ridewood. Directed by Janette Eddisford.

Karaoke at the S.U

What’s worse than bumping into a terrible one-night stand? Meeting in the abortion clinic is probably up there.

In this sharp dramatic-comedy, Lorna and Benji keep crossing paths as they try to navigate university culture, relationships and what it means to “be an adult”. Equal parts silly and melancholy, they try to answer the age old question: how much of your student loan could you pay off being on OnlyFans?

Not quite a rom-com, not quite a cabaret, ‘Karaoke at the SU’ fuses a story spanning decades with musical numbers and puppetry to create something that speaks to everyone’s inner child.

Be prepared for tears, bad dancing and too much WKD.

2 Queers in Tears?

This is not your regular love story.
Billy: “We should write a play about this”
Elliot: “God no babe, this is not for public viewing… ”

Join Billy & Elliot, two queer, emotionally constipated 30-somethings on their journey to becoming their authentic selves. Expect singing, dancing, therapy, 5-am bed talks and a whole lot of mooo-ing. Laugh and “cry” with them as they discover that platonic love conquers all.

That Witch Helen

The face that launched a thousand ships finally gets to speak.

Meet Helen, before Troy, in this feminist retelling of the Ancient Greek epic. Witness her divine beginnings (yes, she did hatch from an egg!), her youth as a Spartan warrior, her fateful decision to leave her husband, and finally the decade of brutal war and destruction that follows.

That Witch Helen blends myth, movement, and storytelling to give Helen of Troy, one of history’s most hated women, a chance to tell her own story.

“What happens to all the clever little girls?”

Written and performed by Catie Ridewood. Directed by Janette Eddisford.

RANK.

RANK A debut play from Goldie Majtas, Gemma and Jane couldn’t be closer, the type of friendship that could survive through anything, I mean anything. This absurd piece of dark comedy will take you on an unexpected journey through the lives of two twenty-somethings trying to sort their sh*t out. All starting at a taxi rank. Think Waiting for Godot meets Fleabag. Be prepared for explicit subject matters and dark themes in this fun, fresh piece of writing. Directed by Julia Mandler and staring Paige Cowell and Goldie Majtas.

Grania Dean Studio

Karaoke at the S.U

What’s worse than bumping into a terrible one-night stand? Meeting in the abortion clinic is probably up there.

In this sharp dramatic-comedy, Lorna and Benji keep crossing paths as they try to navigate university culture, relationships and what it means to “be an adult”. Equal parts silly and melancholy, they try to answer the age old question: how much of your student loan could you pay off being on OnlyFans?

Not quite a rom-com, not quite a cabaret, ‘Karaoke at the SU’ fuses a story spanning decades with musical numbers and puppetry to create something that speaks to everyone’s inner child.

Be prepared for tears, bad dancing and too much WKD.

“Because whatever has happened to humanity, whatever is currently happening, it is happening to us all. No matter how far off the screams of pain and terror, we live in one world.” (Alice Walker) //
Premiere of an experimental play that takes for its structure the four parts of the Geneva Convention – Wounded & Sick / Maritime / Prisoners of War / Civilians – to tell an ancient/contemporary story of the random depravity of war and its existential / psychological impacts for those who are involved and those who are not.

The work grows out of an international collaboration between local writer/theatremaker Mark C. Hewitt and renowned Norwegian percussionist/composer Thomas Strønen. Stylised and kaleidoscopic, the fractured evolving narrative is performed by 4 actresses from 4 different countries, variously delivering lines in English, French, Polish and a smattering of other languages.

• “BRILLIANT. Thought-provoking, raw, provocative, multi-dimensional; use of music, space, silence … the brave lack of ‘closure’ or conventional narrative.” (Audience feedback)

• “Loved the performance, the set and how it changed, likewise the music …” (Audience feedback)

• “A really powerful provocative piece.” (Audience feedback)

Written & directed by Mark C. Hewitt. Performed by Marta Carvalho, Leann O’Kasi, Melissa Sirol, Maria Ziołkowska. Music by Thomas Strønen, performed and recorded by Time Is A Blind Guide. Technical design by Paul Phillips. Videography by Matt Parsons. Movement consultant: Miriam King.

“Because whatever has happened to humanity, whatever is currently happening, it is happening to us all. No matter how far off the screams of pain and terror, we live in one world.” (Alice Walker) //
Premiere of an experimental play that takes for its structure the four parts of the Geneva Convention – Wounded & Sick / Maritime / Prisoners of War / Civilians – to tell an ancient/contemporary story of the random depravity of war and its existential / psychological impacts for those who are involved and those who are not.

The work grows out of an international collaboration between local writer/theatremaker Mark C. Hewitt and renowned Norwegian percussionist/composer Thomas Strønen. Stylised and kaleidoscopic, the fractured evolving narrative is performed by 4 actresses from 4 different countries, variously delivering lines in English, French, Polish and a smattering of other languages.

• “BRILLIANT. Thought-provoking, raw, provocative, multi-dimensional; use of music, space, silence … the brave lack of ‘closure’ or conventional narrative.” (Audience feedback)

• “Loved the performance, the set and how it changed, likewise the music …” (Audience feedback)

• “A really powerful provocative piece.” (Audience feedback)

Written & directed by Mark C. Hewitt. Performed by Marta Carvalho, Leann O’Kasi, Melissa Sirol, Maria Ziołkowska. Music by Thomas Strønen, performed and recorded by Time Is A Blind Guide. Technical design by Paul Phillips. Videography by Matt Parsons. Movement consultant: Miriam King.

“Because whatever has happened to humanity, whatever is currently happening, it is happening to us all. No matter how far off the screams of pain and terror, we live in one world.” (Alice Walker) //
Premiere of an experimental play that takes for its structure the four parts of the Geneva Convention – Wounded & Sick / Maritime / Prisoners of War / Civilians – to tell an ancient/contemporary story of the random depravity of war and its existential / psychological impacts for those who are involved and those who are not.

The work grows out of an international collaboration between local writer/theatremaker Mark C. Hewitt and renowned Norwegian percussionist/composer Thomas Strønen. Stylised and kaleidoscopic, the fractured evolving narrative is performed by 4 actresses from 4 different countries, variously delivering lines in English, French, Polish and a smattering of other languages.

• “BRILLIANT. Thought-provoking, raw, provocative, multi-dimensional; use of music, space, silence … the brave lack of ‘closure’ or conventional narrative.” (Audience feedback)

• “Loved the performance, the set and how it changed, likewise the music …” (Audience feedback)

• “A really powerful provocative piece.” (Audience feedback)

Written & directed by Mark C. Hewitt. Performed by Marta Carvalho, Leann O’Kasi, Melissa Sirol, Maria Ziołkowska. Music by Thomas Strønen, performed and recorded by Time Is A Blind Guide. Technical design by Paul Phillips. Videography by Matt Parsons. Movement consultant: Miriam King.

“Because whatever has happened to humanity, whatever is currently happening, it is happening to us all. No matter how far off the screams of pain and terror, we live in one world.” (Alice Walker) //
Premiere of an experimental play that takes for its structure the four parts of the Geneva Convention – Wounded & Sick / Maritime / Prisoners of War / Civilians – to tell an ancient/contemporary story of the random depravity of war and its existential / psychological impacts for those who are involved and those who are not.

The work grows out of an international collaboration between local writer/theatremaker Mark C. Hewitt and renowned Norwegian percussionist/composer Thomas Strønen. Stylised and kaleidoscopic, the fractured evolving narrative is performed by 4 actresses from 4 different countries, variously delivering lines in English, French, Polish and a smattering of other languages.

• “BRILLIANT. Thought-provoking, raw, provocative, multi-dimensional; use of music, space, silence … the brave lack of ‘closure’ or conventional narrative.” (Audience feedback)

• “Loved the performance, the set and how it changed, likewise the music …” (Audience feedback)

• “A really powerful provocative piece.” (Audience feedback)

Written & directed by Mark C. Hewitt. Performed by Marta Carvalho, Leann O’Kasi, Melissa Sirol, Maria Ziołkowska. Music by Thomas Strønen, performed and recorded by Time Is A Blind Guide. Technical design by Paul Phillips. Videography by Matt Parsons. Movement consultant: Miriam King.

“Because whatever has happened to humanity, whatever is currently happening, it is happening to us all. No matter how far off the screams of pain and terror, we live in one world.” (Alice Walker) //
Premiere of an experimental play that takes for its structure the four parts of the Geneva Convention – Wounded & Sick / Maritime / Prisoners of War / Civilians – to tell an ancient/contemporary story of the random depravity of war and its existential / psychological impacts for those who are involved and those who are not.

The work grows out of an international collaboration between local writer/theatremaker Mark C. Hewitt and renowned Norwegian percussionist/composer Thomas Strønen. Stylised and kaleidoscopic, the fractured evolving narrative is performed by 4 actresses from 4 different countries, variously delivering lines in English, French, Polish and a smattering of other languages.

• “BRILLIANT. Thought-provoking, raw, provocative, multi-dimensional; use of music, space, silence … the brave lack of ‘closure’ or conventional narrative.” (Audience feedback)

• “Loved the performance, the set and how it changed, likewise the music …” (Audience feedback)

• “A really powerful provocative piece.” (Audience feedback)

Written & directed by Mark C. Hewitt. Performed by Marta Carvalho, Leann O’Kasi, Melissa Sirol, Maria Ziołkowska. Music by Thomas Strønen, performed and recorded by Time Is A Blind Guide. Technical design by Paul Phillips. Videography by Matt Parsons. Movement consultant: Miriam King.

The South Of Somewhere Else

Join us for a journey like no other in ‘The South Of Somewhere Else,’ a captivating show that fuses the vibrant coastal cultures of the UK and Spain. As the stage divides into two, one side representing the UK’s iconic Baltic, breezy, beaches and the other, the sun-drenched shores of Spain, our story unfolds.

Two clowns, portrayed by Sarah Mawen and Toby George, stumble upon a portal that bridges these two worlds. As they exchange traditions like sausage rolls and tortillas, uproarious clashes and challenges ensue. Yet, through humour and heart, an unbreakable overseas connection forms right before your eyes.

In this mesmerising mime show, ‘The South Of Somewhere Else’ weaves its narrative through choreography and bold movements. A spectacle that enchants audiences of all ages, transcending language barriers with its visual storytelling prowess.

Our characters draw inspiration from both their towns locals and visitors, all sharing one common thread – the beach. Whether you’re a child or an adult, ‘The South Of Somewhere Else’ promises a heartwarming, laughter-filled experience. Don’t miss this unique combination of clown mime and coastal-inspired narrative; buy your tickets now and dive into the seas of a world where culture meets comedy, and the beach is the backdrop to an unforgettable adventure!

From 1915 to 1940, Michael Dillon struggled against a world that insisted he was a girl. The only way he could live a full life was to invent gender affirming care for trans men. Body aligned, he began work on his soul. Heart-break, world travel, and life as a Buddhist monk followed.

Today, trans identities are openly mocked in British parliament, and gender affirming healthcare increasingly difficult to access. Far from “new and experimental”, hormone and surgical treatments developed by and for Dillon, in partnership with an emerging plastic surgeon, are established best practices for the global medical community.

Follow Michael’s journey from his childhood in Folkestone, through his medical training and transition, to the Merchant Navy and Buddhist monasteries in India and Ladakh. Described by biographer Pagan Kennedy as “The First Man-made Man”, Dillon’s extraordinary life comes to the stage for the first time, with an all-trans cast.

The South Of Somewhere Else

Join us for a journey like no other in ‘The South Of Somewhere Else,’ a captivating show that fuses the vibrant coastal cultures of the UK and Spain. As the stage divides into two, one side representing the UK’s iconic Baltic, breezy, beaches and the other, the sun-drenched shores of Spain, our story unfolds.

Two clowns, portrayed by Sarah Mawen and Toby George, stumble upon a portal that bridges these two worlds. As they exchange traditions like sausage rolls and tortillas, uproarious clashes and challenges ensue. Yet, through humour and heart, an unbreakable overseas connection forms right before your eyes.

In this mesmerising mime show, ‘The South Of Somewhere Else’ weaves its narrative through choreography and bold movements. A spectacle that enchants audiences of all ages, transcending language barriers with its visual storytelling prowess.

Our characters draw inspiration from both their towns locals and visitors, all sharing one common thread – the beach. Whether you’re a child or an adult, ‘The South Of Somewhere Else’ promises a heartwarming, laughter-filled experience. Don’t miss this unique combination of clown mime and coastal-inspired narrative; buy your tickets now and dive into the seas of a world where culture meets comedy, and the beach is the backdrop to an unforgettable adventure!

Kitchen Underwear

Reviews

This play was great, cute queerness wrapped up in even cuter poetic language. I truly recommend this show to anyone

– Theatre Scotland, ★★★★